建筑學(xué)-專(zhuān)業(yè)英語(yǔ)作業(yè)

學(xué)院某學(xué)院班級(jí)建筑學(xué)2班姓名某木木學(xué)號(hào)XXXXXXXX6課程名稱(chēng)專(zhuān)業(yè)外語(yǔ)1學(xué)期2023-2023第一學(xué)期成績(jī)TadaoAndo1.BriefintroductionTadaoAndoisaJapaneseArchitect,andhewasbornonSeptember,13th,1941,inOsakaCity,Japan.Hedidnotreceivethetraditionalarchitectureeducation,andheonlyhadalittleworkexperienceinanarchitecturecompany.Aftergraduationfromhighschool,hejoinedtheSemiModeSeminar,whichisastudyclasscreatedbytheprofessorsofuniversityandbelongstoaneducationofuniversity.ThegreatmajoritygraduatesofSemiModeSeminarareactiveworkersofthecreativeindustryontheleadingedgeintheworldnow.Afterthat,hestudiedthedesignofinteriorandtheskillofdrawblueprintthroughvariousways.Beforehebecameanarchitect,hedesignedtheinteriorofmanyteahousesandcoffeehouses,mainlyintheKansaiareas.Heusedtobeaflatcardriverandaboxerbeforehebecameaprofessionalarchitect.Usingthemoneyheearnedfromboxingmatch,hetraveledtomanyplacesintheUSA,Europe,AfricaandAsiatoseethelocalarchitectures.Then,heturnedouttobeaprofessionalarchitectwithouttraditionalarchitectureeducation.Atthesametime,hisphotossucceedtobeusedintheLouisI.Kahn'sworks.RoseGarden,whichislocatedinIkutaZone,KobeCityandbuiltat1977,washisfirstarchitecturedesign.HecompleteditwithHamanoCommoditiesInstitutewhichhisbrotherbelongedto.At1969,TadaoAndohadhisownInstitute:TadaoAndoArchitectureResearchInstitute,andhedesignedalotofprivatehousesinthosetime.The"Sumiyoshinonagaya"wasthehighlyappraisaloneamongallhishousedesigns.HispublicarchitecturedesignsandprivatehouseswerealsoadmittedbyArchitecturalInstituteofJapanmanytimes.Fromthenon,TadaoAndosettledhispersonalstylewhichwashighlypraisedintheworld,anddesignedthearchitecturesmainlyastheAs-cast-finishConcreteandthegeometrical.At1980,hedesignedmanyshopmarkets,templesandchurchesintheareasofKansai.After1990,thenumberofpublicarchitecture,artgalleryandthearchitecturedesignsallovertheworldincreasedgreatly.At1995,TadaoAndowonthehighestawardPritzkerArchitecturePrize,andhecontributedtheaward$100,000totheorphansofthegreatearthquakein1995.IdeologicalpointofviewTadaoAndobelievestherearethreeessentialelementstoconstitutearchitecture.Thefirstelementisthedependablematerial,inanotherword,realmaterials.Thoserealmaterialscouldbethepureandsimpleconcreteorthenon-moppingwoodsandsoon.Thesecondelementistheperfectgeometryformwhichprovidesthebaseandframeforthearchitecture,andshowingthemintheworld.Itmaybeanobjectofimagineinmind,anditisalwaysanobjectofthethree-dimensionalstructure.Whenthegeometryformappliestothearchitecture,thepositionofthearchitectureforminthewholenaturalworldcanbeconfirmeddistinctly,theinteractioncouldbeeffectedbetweenthenaturalandgeometry.Thegeometryconstitutestheholisticframe,andbecomethescreenofthesceneryinthesurroundingenvironment.Peoplecanwalk,stay,andmeetbychanceinit,andevencanbuildanintimaterelationshipwiththelightofthenatural.Peoplecanreadtheadministrativelevelsinfewanddensebythedanceofshadow.Throughthedisposethenaturalthearchitecturearenotonlyopposebutalsocoexist.Thelastelementis"theNatural"."TheNatural"isnotthegeneral,originalnature,butitisakindofman-madeunorderednatureorthedesignednaturethatextractandpurityfromtheoriginalnature.ThenatureintheTadaoAndo'swordsisnotthecultivationingeneralmeaning,buttheman-made,architecturalnature.TadaoAndothinksthecultivationisjustonlyawaytobeautifyenvironment.Itisverydespicabletouseonlythegardens’andtheplants'changesoffourseasonsinittosymbolizeways.Thelights,waterandwindintheabstractarethebestwaystoshowthenaturalbaseonarchitectureasmaterialandgeometry.MajorWorksRowHouseinSumiyoshi1976RowHouseinSumiyoshi,SumiyoshiZone,OsakaCity,JapanDesign:January,1974---August,1975Built-uparea:65squaremeterRowHouseinSumiyoshiisthemostfamousworkofTadaoAndo'sarchitecturedesign,anditisthefirstfamousworkofallhisdesigns.Itisarectangularinsertinthreebuildings.RowHouseinSumiyoshiisbasedonthetraditionalJapanesehouseanditalsohasmanymodernelements.Thebuildingmaterialsofthishousearemainlyconcreteandsteel,whichareoriginatedandwildlyusedinwesterncountries,butitalsoshowsthelivinghabitsandnationalcharacteristicsoftheJapanese.TheHousehasaverynotablecharacteristicthatithasnowindowontheoutsidewall.Becausethereisacourtyardinthecenterofthebuilding,theroomsinthehouseareverybright.Visitorswillhaveabigsurprisedforhisamazingtechnique.Youcannotfindthelivingroomwhenyouslideopenthedoor,butwithafurtherturnfromthecorner.Itmakestheeffectsoflightandshadowsstrengthen.RowhouseinSumiyoshiisasymmetryformbasically.Thecourtyardtakesthebuildingsintowsidescareofeachother.Beingasmallhouseofonly65squaremeters,thedesignmakesitabigonewithsignificantvisualeffects.(2)ChurchofLight1989,ChurchofLight,Ibaraki,OsakaCity,JapanDesign:1989Built-uparea:113squaremeterTheChurchofLightismostfamousoneintheChurchTrilogyofTadaoAndo(Churchofwind,ChurchofWaterandChurchofLight).ChurchofLight'scharmisnotit'sexternalbutit'sinside.IthasthesimilarvisualshockofNotreDameduHaut.HowevertheNotreDameduHauttakethequiettopeopleandtheChurchofLighttakethestrongshocktopeople.TheChurchofLighthasnotawellzonetobebuiltandithasnotadequatebudgetbutitisnottakebadinfluenceTadaoAndotocreatthebestarchitectureinhismind.Usingthickconcretetomakeaabsolutelydarkspace.Itmakepeoplefeelhimselftobeisolated.ThereforewhenpeopleseetheLightCross---madebythesunshinewillfeelingholy,pure,clearandshock.TheChurchofLightisveryuniqueintheworksofTadaoAndo.Hemadeitusingtheabstract,pureandgeometryinitsspace.Ittakepeopleaplaceforthemtocleartheirmind.Thechurch'sdesignisverysimpleandabstract.Ithasnospirelikethenormalchurchesbutithasastrongreligionatmosphereinitsinsidespace.Thearrangementinthechurchisdecidedbythepositionofthesunandtheoldchurch.TheChurchofLightmadebyaconcretecubeandawallwhichcrossitas15°.Thereisaballinthecube.Thewalldivisethechurchtotwoparts.Peoplecanfeelsky,sunshineandgreentreespassthroughtheglassvault.Thesunlightinthechurchischangeallthetimebytimepassbyinaday.安藤忠雄安藤忠雄〔1941年9月13日－〕，日本大阪人，日本建筑師。安藤忠雄出生于大阪市。安藤忠雄作品安藤忠雄并未受過(guò)正規(guī)的建筑教育，僅在建筑公司工作過(guò)一小段時(shí)間。在高中畢業(yè)后，參加了SemiMode研究班〔SemiModeSeminar，Seminar是一種由大學(xué)教授創(chuàng)立的研究班，屬于大學(xué)教育的一種〕，畢業(yè)生大多都是目前都在業(yè)界第一線(xiàn)活潑的創(chuàng)意工作者。之后單獨(dú)利用各種管道學(xué)習(xí)了室內(nèi)設(shè)計(jì)和制圖等技巧。在成為建筑師之前，曾經(jīng)擔(dān)任過(guò)以關(guān)西為中心，許多茶館或咖啡廳的室內(nèi)設(shè)計(jì)。在成為建筑師前，曾任貨車(chē)司機(jī)及職業(yè)拳手，其后在沒(méi)有經(jīng)過(guò)正統(tǒng)訓(xùn)練下成為專(zhuān)業(yè)的建筑師。利用拳擊比賽贏得的獎(jiǎng)金，前往美國(guó)、歐洲、非洲、亞洲旅行，也順便觀察各地獨(dú)特的建筑。那個(gè)時(shí)候，他的攝影作品被使用在建筑師路易·康的作品集中。最初的建筑作品－RoseGarden〔玫瑰花園；位在神戶(hù)市生田區(qū)〕是在1977年時(shí)，與弟弟孝雄所屬的浜野商品研究所一起共同合作。1969年在大阪成立安藤忠雄建筑研究所，設(shè)計(jì)了許多個(gè)人住宅。其中位在大阪的“住吉的長(zhǎng)屋〞獲得很高的評(píng)價(jià)，大規(guī)模的公共建筑到小型的個(gè)人住宅作品，屢次得到日本建筑學(xué)會(huì)獎(jiǎng)的肯定。此后安藤確立了自己以清水混凝土和幾何形狀為主的個(gè)人風(fēng)格，也得到世界的良好評(píng)價(jià)。1980年代在關(guān)西周邊設(shè)計(jì)了許多商業(yè)設(shè)施、寺廟、教會(huì)等。1990年代之后公共建筑、美術(shù)館，以及海外的建筑設(shè)計(jì)案開(kāi)始增加。1995年，安藤忠雄獲得建筑界最高榮譽(yù)普利茲克獎(jiǎng)，他把10萬(wàn)美元獎(jiǎng)金捐贈(zèng)予1995年神戶(hù)大地震后的孤兒。思想觀點(diǎn)安藤相信構(gòu)成建筑必須具備三要素：第一要素是可靠的材料，就是真材實(shí)料；這真材實(shí)料可以是如純粹樸實(shí)的水泥，或未刷漆的木頭等物質(zhì)。第二因素是正宗完全的幾何形式，這種形式為建筑提供根底和框架，使建筑展現(xiàn)于世人面前；它可能是一個(gè)主觀設(shè)想的物體，也常常是一個(gè)三度空間結(jié)構(gòu)的物體。當(dāng)幾何圖形在建筑中運(yùn)用時(shí)，建筑形體在整個(gè)自然中的地位就可很清楚的跳脫界定，自然和幾何產(chǎn)生互動(dòng)。幾何形體構(gòu)成了整體的框架，也成為周?chē)h(huán)境景色的屏幕，人們?cè)谏厦嫘凶?、停留、不遇期的邂逅，甚至可以和光的表達(dá)有密切的聯(lián)系。借由光的影子閱讀出空間疏密的分布層次。經(jīng)過(guò)這樣處理，自然與建筑既對(duì)立又并存。最后一個(gè)因素是〞自然〞；在這兒所指的自然并非是原始的自然，而是人所安排過(guò)的一種無(wú)序的自然或從自然中概括而來(lái)的有序的自然——人工化自然。安藤所謂的自然，并非泛指植栽化的概念，而是指被人工化的自然、或者說(shuō)是建筑化的自然。他認(rèn)為植栽只不過(guò)是對(duì)現(xiàn)實(shí)的一種美化方式，僅以造園及其中植物之季節(jié)變化作為象征的手段極為粗糙。抽象化的光、水、風(fēng)。這樣的自然是由素材與以幾何為根底的建筑體同時(shí)被導(dǎo)入所共同呈現(xiàn)的。主要作品(1)1976住吉的長(zhǎng)屋，大阪市住吉區(qū)設(shè)計(jì)時(shí)間：1974/01-1975/08建筑面積：65㎡住吉的長(zhǎng)屋是安藤忠雄的成名作，也是其代表作之一。它是一幢三聯(lián)立住宅中間的一個(gè)矩形插入體。住吉的長(zhǎng)屋是在日本大阪?zhèn)鹘y(tǒng)民居的根底上引入現(xiàn)代住宅的概念，而又在這個(gè)利用西方創(chuàng)造的混凝土和鋼材為主要建筑材料的住宅中充分表達(dá)出日本人的生活習(xí)慣和名族特點(diǎn)。長(zhǎng)屋最顯著的一個(gè)特點(diǎn)就是在建筑的外墻之上沒(méi)有任何一扇窗戶(hù)。由于有一個(gè)中庭的存在，長(zhǎng)屋之中的所有房間都非常明亮。參觀者會(huì)被這種奇特的手法所驚奇。劃開(kāi)門(mén)之后并不能直接看到起居室，需要額外再轉(zhuǎn)一個(gè)轉(zhuǎn)角，這使得建中的光影效果得到了加強(qiáng)。根本上來(lái)說(shuō)長(zhǎng)屋是一個(gè)對(duì)稱(chēng)的結(jié)構(gòu)。中庭使得兩側(cè)的建筑相互照應(yīng)，而且設(shè)計(jì)者利用奇妙的手法是得這個(gè)只有65平方米的小建筑有一個(gè)比它實(shí)際要大得多的視覺(jué)效果。(2)1989光之教堂大阪市茨木區(qū)設(shè)計(jì)時(shí)間：1989年建筑面積：113平方米光之教堂是安藤忠雄的教堂三部曲中最著名的一座(風(fēng)之教堂、水之教堂和光之教堂)。光之教堂的魅力在它的內(nèi)部而非外部。他有著和朗香教堂同樣地震撼效果。但是亮相教堂給人以平靜而光之教堂給人以震撼。光之教堂并沒(méi)有建立在最好的地塊也沒(méi)有足夠的預(yù)算但是塔仍然實(shí)現(xiàn)了安藤忠雄腦中創(chuàng)造的那個(gè)建筑。用后市的清水混凝土圍合出絕對(duì)的黑暗空間，讓人感受到了強(qiáng)烈的與世隔絕。于是在人們看到那個(gè)由光構(gòu)成十字時(shí)感受到了強(qiáng)烈的神圣、純潔、清澈和震撼。光之教堂在安藤忠雄的作品中是獨(dú)一無(wú)二的，他用抽象、純粹和幾何學(xué)的形式構(gòu)建空間。它帶個(gè)了人們洗滌靈魂的地方。教堂的設(shè)計(jì)非常簡(jiǎn)潔和抽象。它并不像一般的教堂擁有尖頂?shù)撬膬?nèi)部空間卻帶個(gè)人們強(qiáng)烈的宗教感。教堂的不知取決于太陽(yáng)的位置以及教堂的原址光之教堂由一個(gè)清水混凝土的立方體和一個(gè)橫穿過(guò)他的一道15°的墻構(gòu)成。立方體的正中有一個(gè)球形。那道墻吧教堂分成了兩局部。人們可以透過(guò)玻璃穹頂感受天空、陽(yáng)光以及綠樹(shù)。教堂內(nèi)部的光線(xiàn)變化取決于一天中太陽(yáng)不同的位置。ShinjukuIntroductiontotheRegionShinjukuistheoneofthe23SpecialZonesinTokyo,Japan.ItisalsothemostfamousdowntownbusinessdistrictintheTokyoeveninJapan.ShinjukuislocatedinthecentralwestinTokyoCity.TheShinjukuStationisthemostimportanttransporthubofthewestsideofTokyoCityintheregion.TheShinjukuStationincludesTheJRYamanoteLine,TheJRCentralLineandJRSobuLine.TheheadquartersofPrivateRailwayCompany'sKeioElectricRailwayisintheShinjukuStationtoo.ShinjukuisoneoftheThreeDeputyCapitalswhichShinjuku,Shibuyaandikebukuro.TherearelotsofcorporateheadquartersandgovernmentofficebuildingsinShinjuku.TokyoMetropolitanGovernmentHallislocatedwesternShinjuku.ShinjukuisthenewbusinesscenterandthenewadministrativecenterofTokyoCity.Therearelotsoflargeenterprisesheadquarters'sskyscraperonthesurroundingofShinjuku.ThosesuperhighrisebuildinggroupisthemostfamousmarkofShinjukuandTokyoCity.ForexampletheTokyoStation'ssouthdirectionisthebusinesszoneofintensivedepartmentstoresandcommercialstreets.AndthemostfamousoneisTakashimayadepartmentstorecompany'sflagshipstore---TakashimayaTimesSquareandtheheadquarterofthefamousJapanchainbookstoreKinokuniya.RelativetotheWestShinjukumodernizationandtidy.TheEastShinjukuareathateastofShinjukuStationistheThemostpopularandmostconfusingtraditionalcommercialstreetzone.Amongthem,theKabukimachithatRedLightdistrictoffamousoverseasislocatedintheShinjukuarea. VarioussuperModernskyscrapers,thenewbuilttheatredistrict,rowuponrowofthebigorsmallresortintheShinjuku'sstreetsandroads.Shinjukucansayishaveeverythingthatoneexpectstofind.JRShinjukuStationissaidtobethelargeststationpassengerflowinourworld.EverydayintheShinjukuStationaboardthetrainhighamountsto760000people.DuringtheweekdaymorningwiiltakeyoutoexperiencetheTokyocommuters'stimulation.ShinjukuisthewesterntransportationhubofTokyoanditalsothestartingpointofHakone'sLittleTinyuwaRailwayLine.Hakoneisfamousforthenountainhotspringsandthebeautifulsceniclakes.OntheeasternsideofthestationistetraditionalshoppingandentertainmentcenterandonthewestsideofthestationisthewestofShinjuku.Before1960,hereisanopenfieldbaxically.ButnowitisthelargesthighrisebuildingsonthegroundinJapan.Inseveralhighrisebuildingstherearewatchtowersandmostlyhavethehotelsonthetop.Peoplecanenjoythespectaculatcitynightscene.TheHistoryofRegionShinjukuislocatedintheTokyowestoftheitscenter.ItisabouteightkmawayfromGinza.ItisoneofthemaindowntownareainTokyoCitywhichjustafterGinzaandAsakusaUeno.Enter50s,withthehighspeedofJapaneseeconomy'sdevelopment,thecentralthreearea(Chiyoda,PortandtheCentralZone)asthecapitalofTokyo'soldcentralbusinessdistricthascannotmeettheneedofsituation.Governmentofficebuildings,greatcorporationheadquartersbuildings,nationaleconomicmanagementbuildingsandcommercialservicebiuldingsarecrowdedtogether.Sotrafficandhighbuildingsfallintobigjam.Asacontrol,alleviatetheexcessiveconcentrationofthestatecentralareaandforthedevelopmentofsurroundingarea.At1958thesecondfalfoftheyear,TheTokyoMetropolitanGovernmenttakeatentativeideathatbuilddeputycapital(Shinjuku,ShibuyaandIkebukuro)andbeginfromShinjuku.TrafficHubandPublicPlacesAftertheMeijiReform,Japanesegovernmentrecognizedthepeoplecanfreetochoosethecropsatthetime.Sincethen,thesurroundingareasofShinjukuappearedlogswoodplanting.Besides,thewoodreferredasFourValleyLogsofWoodwasfamousinJapangradually.Thefrequencyandnumberoftransportmoreandmorelargewhentheincreaseofpurchase.ShinjukuStationasatransmissionchannelbecameaimportanttransferstation.ShinjukuStationisbeganfromMeiji18th(1885),itinitiallyonlyconnectedAkabaneandShinagawa.TherailwayistheoriginatypeofYamanoteLine.Afterthen,duringtheMeiji22th(1889),thepredecessorofthenowadaysCentralLinewascompleted(betweenShijukutoTachikawa).ThenopenedthecityelectricrailwaybetweenShinjukuandHanzomon---KeioLine.ShinjukubecametheheartplaceinTokyocentertoconnecteachothers.ShinjukuGyoen,thetravellerswhocometoShinjukuwillalwaysbetakentoShinjukuGyoenthatJapaneseEmperor'sRoyalGardenonce.PeoplecanfeelingthenaturefreshairbelowtotheirfacesandthetracesofhistorywhentheywalkonthestreetsofShinjukuGyoen.AtfirsttheShinjukuGyoenwastheRoyalGardenandprovidebranchcuttingsandseedsforTokyo.HoweverduringmayintheShowa20th(1945),theGardenwasdestroyedinairraid.AtShowa22th(1947),TheJapanesecabinetdecidedthatShinjukuGyoen,ImperialPalaceandKyotoImperialbecamenationalparktogether.ShinjukuCentralPark,itislocatedinwestofShinjuku.Itisalittlegreenincommercialofficezone.Thereisalittlewaterfall,squareandobservatoryinthepark.Peoplewalkinitwillforgetnoiseofnewcapitaltemporary.Thetreesthatgreeninfourseasonsinparkwillmakepeoplecheerful.Thepark'sdesignershowhisingenuityintheallofthedetailsinthepark'shumanizeddesign.Therearesportstrainingestablishmentsandthemusicfountaininthepark.Atthesametime,therearesixfamousstatueswhichChange,Fetter,Lookout,Happen,ClockofPeaceandForeverStatueinthepark.Thayarerealismorabstract.TheFutureDevelopmentofShinjukuBecauseoftheexistenceofpornsitestheShinjukuwasaveryunsafeinthelastfewyears.Thegangappearsonstreetsmakeresidentinsurroundingfeelingdisturbedanddangerousespeciallyintheevening.InthefuturedevelopmentofShinjukuitisasideequallyimportantaseconomic